>Jazz music pushes harmonic dissonance a lot farther than "classical" does
Not sure why you say that. Except you're imagining Mozart vs free jazz or something. Both musics have pushed dissonance pretty much all the way.
By "a simple fifth" do you mean e.g. the note G in the key of C major? (depends what harmony exactly) or C and G played together with no harmony, or..
And when you say a simple fifth is "dissonant", do you mean it's dissonant, or "dissonant" (i.e. not dissonant)? So, theoretically dissonant, but not really?
I once lived with someone who listened to no 15 (I think it was) of Messiaen's 20 Glimpses of the Infant Jesus constantly. It's very slow, nothing but super-weird chords. After a few minutes there's a major triad, which sounds sooo weird, like a super-weird chord. So.. that makes "the perception of dissonance isn't musical, it's cultural" not sound exactly right either.
It demands resolution? In what way? Like what? You need to hear a root note after it?
>It doesn't sound wrong to hear tritones
Like in a G7 chord?
>or stacked fourths
The jazz originators of this called it a Ravel voicing.
I put "classical" in quotes for a reason - I meant baroque/romantic kinds of classical music. Mozart, if you will. Listen to Charles Ives, and you'll hear dissonance as challenging as anything in jazz.
And yes, theoretical vs actual dissonance. All note combinations but unison are dissonant to some degree. C and G, played together, are more dissonant than C and C, but not as dissonant as, say, C and B together (which is also why there's some piquant clanginess in a maj7 chord, despite its lush sound).
Also yes, in the right harmonic context, a major triad can sound really weird. But being major isn't itself proof against dissonance. If you're in D major, a D# major triad is going to sound very dissonant. "Perception of dissonance is cultural" is a generalization, I'll admit, but it's a good one. What sounds terrible to ears accustomed to Pachabel is merely juicy to ears that dig Ellington.
Not sure why you say that. Except you're imagining Mozart vs free jazz or something. Both musics have pushed dissonance pretty much all the way.
By "a simple fifth" do you mean e.g. the note G in the key of C major? (depends what harmony exactly) or C and G played together with no harmony, or..
And when you say a simple fifth is "dissonant", do you mean it's dissonant, or "dissonant" (i.e. not dissonant)? So, theoretically dissonant, but not really?
I once lived with someone who listened to no 15 (I think it was) of Messiaen's 20 Glimpses of the Infant Jesus constantly. It's very slow, nothing but super-weird chords. After a few minutes there's a major triad, which sounds sooo weird, like a super-weird chord. So.. that makes "the perception of dissonance isn't musical, it's cultural" not sound exactly right either.
It demands resolution? In what way? Like what? You need to hear a root note after it?
>It doesn't sound wrong to hear tritones
Like in a G7 chord?
>or stacked fourths
The jazz originators of this called it a Ravel voicing.